审美距离与大众文化的位置——近年来大众文化个案分析及其一般性结论  

Aesthetic Distance and Position of Popular Culture:A Case Analysis of popular culture in Recent Years and A General Conclusion

作　　者：金岱[1] 

机构地区：[1]华南师范大学文学院,广东广州510631

出　　处：《华南师范大学学报（社会科学版）》2007年第3期41-50,62,共11页Journal of South China Normal University：Social Science Edition

摘　　要：从近年来四种大众文化热点韩剧、帝王戏、超级女声、少年写作对这些个案的分析,同时根据姚斯的审美距离理论而自拟的审美距离函数图,得出了一般性结论:大众文化的审美距离总是较小,使接受者的感受力因不断重复而日益麻木,使需要随着时代或文明而变革的旧的观念与集体无意识更为板滞、固化;而社会或精神知识分子的文化,其审美距离总是较大,必不可免地要等待接受方面期待视野之水平的扩大与提高。因此,大众文化与知识分子文化需要有一种平衡。然而遗憾的是,今天中国,大众文化似正在出现独霸天下的局面。This essay discusses four highlights of popular culture,South Korea TV series,emperor drama,super-girl singer and teenager writing from the view of aesthetic distance and draws a general conclusion based on the theory of functional image of aesthetic distance proposed by Hans Robert Jaush: On the one hand,the aesthetic distance of popular culture is always short which makes the receptors' sense ability insensitive due to continual repetitions and the old conception and collective subconscious that need to be renewed with age more stiff and fixed.On the other hand,the aesthetic distance of social or mental intelligentsia culture is long which requires the receptor's horizon of expectations to be enlarged.Therefore,a balance is needed between popular culture and intelligentsia culture but it is a shame that popular culture is dominating in China nowadays.

关 键 词：韩剧 帝王戏 超女 少年写作 审美距离 大众文化 知识分子文化 

分 类 号：B834[哲学宗教—美学] G05[文化科学]